Italian Vocal 78rpm records

Historical Reissue Classical CDs, LPs,
78s, Related Books & Ephemera

Since 1972



Auction Number 149 ­- AUCTION Closing Date: Monday, 21 May, 2018



Regarding AUCTION #149 (Closing Date: Monday, 21 May, 2018), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Section V - Italian Vocal 78rpm records Nos. V0592 - V0826

V0592. FERRUCCIO GIANNINI, w.Royal Marine Band: A Frangesa March (Costa). 10” black GP V 4057 (B-1684), only form of issue, 13 Sept., 1904. A to M-A, beautiful copy has cloudy & noisy surface; uncommonly bright label. MB 15

V0593. FERRUCCIO GIANNINI: Funiculi – Funicula (Denza), self-announced by Giannini. 10” black & silver Col. 1484, POM-1904. A-B, very decent copy has lt.rubs & sev.lt.nr, audible primarily during announcement at beginning; nice bright flush label. MB 15

“Giannini emigrated from Italy to the USA at the age of seventeen. In 1891 Giannini made his debut in Boston and from 1892 to 1894 undertook an American tour with the Mapleson Opera Company. Then he lived in Philadelphia and appeared in opera and concert performances in the USA and also taught singing. He opened a small theatre in Philadelphia in which he organized operas and concerts with his pupils. His daughter was the famous opera singer Dusolina Giannini. He was the first ‘serious’ operatic artist to make recordings, for Berliner in 1896, and later for Victor, Columbia and Zonophone.”
- Ashot Arkelyan


V0594. FERRUCCIO GIANNINI: Funiculi – Funicula (Denza). 10” black GP V 2404 (B-1687), only form of issue, 15 Sept., 1904. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

V0595. FERRUCCIO GIANNINI: RIGOLETTO - La Donna è mobile (self-announced by Giannini). 10” flush black & silver Col. 1749, only form of issue, April, 1904. A-, remarkable copy for this vintage has lt.grey on peaks, plays beautifully & has wee ipc, nowhere near center nor edge; uncommonly bright flush label. MB 25

V0596. FERRUCCIO GIANNINI, w.Royal Marine Band: RIGOLETTO – Questa o quella. 10” black GP V 4058 (B-1682), only form of issue, 13 Sept., 1904. A to M-A, lovely copy has fantest rubs & plays beautifully. MB 15

V0597. FERRUCCIO GIANNINI: IL TROVATORE - Miserere (self-announced by Giannini). 10” flush black & silver Col. 1738, only form of issue, April, 1904. A-, remarkable copy for this vintage has faintest rubs, inaud.; uncommonly bright flush label. MB 25

V0598. FERRUCCIO GIANNINI & Miss MERRILEES: IL TROVATORE - Miserere. 10” black GP V 4092 (B-1703), ‘Take’ 1 (the alternate ‘Take’ being ‘Take’ 2, recorded the same day); only form of issue, 24 Sept., 1904. A-, bright copy has lt.rubs, inaud. MB 20

V0599. FERRUCCIO GIANNINI & Miss MERRILEES: IL TROVATORE - Miserere. 10” black Victor Monarch V 4092 (B-1703), ‘Take’ 2 (the alternate ‘Take’ being ‘Take’ 1, recorded the same day); only form of issue, 24 Sept., 1904. B, decent copy has rubs & various lt.scrs, ltly audible. MB 20

V0600. FERRUCCIO GIANNINI & ALBERTO DE BASSINI: MARTHA – Solo profugo (self-announced by Giannini) / TAURINO PARVIS: CARMEN – Air du Toréador (in Italian). 10” black Col. A543 (1771/3140), POM-1904. A to M-A, exceptional copy has, Sd.1 only, faintest rubs, inaud. MB 20

V0601. DIEGO GIANNINI: L’Italia a Tripoli / LUIGI BALDASSARE: A Tripoli. 10” pale blue Col. E1000 (11257/75), POM-1912. M-A, an extraordinary copy! MB 8

“Among the better known serious recordings on early Columbia are the 11 sides by Giannini, a mix of Neapolitan airs and operatic arias, two of them duets with Alberto De Bassini. They were made in late 1903 and early 1904, and numbered between 1484 and 1771. Catalogs and labels identified the singer only as “Signor Giannini,” but collectors and writers have always assumed that meant Ferruccio Giannini, the pioneering tenor who was the first “serious” operatic artist to make recordings, for Berliner in 1896, and later for Victor and Zonophone.

It was certainly a surprise, therefore, to discover that in later Columbia catalogs these 1903-1904 recordings were credited not to Ferruccio but to Diego Giannini, an obscure tenor then recording in the Columbia “E” series. In the early 1900s Columbia did not routinely identify artists in its catalogs, and sometimes not on the labels either. However with the advent of double-discs in 1908 this policy was gradually reversed, and in July 1912 the general catalog underwent a major overhaul, with many artist names added or expanded. “Signor Giannini” became “Diego Giannini,” which it remained until the last of his discs was deleted in 1914. Several collectors I contacted were surprised by the discovery, and suggested that since it was from an original source, it might well be true. In this case, however, collectors are right and the Columbia catalog editors were wrong. I subsequently obtained copies of some of the original 1904 single-face discs, and they are announced as by Ferruccio Giannini. The announcements are delivered with a wonderful flourish (“Ferr-UUCH-io!”), in a heavily accented voice that is no doubt that of the tenor himself. These announcements, which by the way are worth the price of the disc, had been physically deleted from the master by the time the double face versions were issued, and the 1912 Columbia editors probably assumed the artist was the only Giannini then recording for the company. Diego, who was apparently not related to Ferruccio, continued to record until the 1920s.”
- Tim Brooks


V0602. GIUSEPPE BORGATTI: LOHENGRIN – In fernem Land / Mein lieber Schwan! (in Italian). 11” orange paper label H & D Pathé 10329, recorded 1919, w.contemporaneous Paris label stickers. M-A MB 45

V0603. GIUSEPPE BORGATTI: LOHENGRIN – Atmest du nicht / DIE WALKÜRE - Winterstürme (both in Italian). 10” brown Eng. Col. D6073 (B1925/B2589), POM-1928 A to M-A, lovely copy has, Sd.2 only, tiny rim chip not to grooves. MB 65

“Borgatti's Wagner recordings...are among the finest ever made....His singing exemplifies those older Italian virtues that Wagner so much admired and wanted to hear in his music....In 1928, Borgatti recorded several rare sides electrically for the Columbia company. Overall, Borgatti's recordings did not sell well and are major rarities in the record collecting world. The electric recordings made in 1928 are as rare (perhaps rarer) as the earlier recordings. The general view is that Borgatti's art was too subtle for commercial success on record. In [Sd.1] there is a beauty of tone, a wide variety of vocal colour and sensitive phrasing, achieved without imposing the manners of the verismo school, or compromising the style of the music."
- Michael Scott


604 shellac

V0605. GIUSEPPE BELLANTONI: Luna cortese (Valente) / Lolita (Buzzi-Peccia). 10½” Milano Fonotipia 62467/92727 (xPh 4285/4420). A-, lovely copy has faintest rubs & occasional dust mk, positively inaud. MB 45

V0606. GIUSEPPE BELLANTONI: HÉRODIADE – Vision fugitive (in Italian) / LA FAVORITA – A tanto amor. 10½” Milano Fonotipia 92679/80 (xPh 4400/26). A-, wonderful copy has faintest rubs & occasional dust mk, very faintly audible.; Sd. 2 only has minuscule pressing bump, faintly audible a very few turns. MB 45

"Like Battistini, Bellantoni has left some of his most attractive and characteristic performances in the song repertoire…. the Neapolitan ‘Luna cortese’ [is] brought to vivid life by Bellantoni’s sensitive and emotional singing, with much expressive use of rubato and a well-developed head register….In ‘Vision fuggitiva’ from HÉRODIADE there is something of oriental luxuriousness in Bellantoni’s loving care for the melody, though his occasional pianissimo touches make us wish that he had ventured even more delicately.”
– Ward Marston


V0607. DOMENICO VIGLIONE-BORGHESE: ZAZÀ – Zazà, picola zingara / CARMEN – Chanson du Toréador (in Italian). 12” red German Polydor 72038 (680/642af), POM-1916. M-A MB 25

“Domenico Viglione-Borghese was heard [in San Francisco] by Caruso, who recommended the baritone to a touring troupe featuring Luisa Tetrazzini. Having great success with this company in 1905–1906, he returned to Italy and, in 1907, made a second debut as Amonasro in Parma. He was so successful that he was soon appearing regularly at the Teatro Costanzi and at La Scala. While he was noted as Iago, Barnaba, Tonio, and most of the more dramatic Italian roles, he excelled as Jack Rance in Puccini’s LA FANCIULLA DEL WEST, a role he had created for Italy at the Teatro Constanzi in 1911. His career continued until 1940.”
- Ward Marston


V0608. ITALO TAJO, w.Erede Cond.: SIMON BOCCANEGRA – Il lacerato spirito / BARBIERE – La calunnia. 12” black German Telefunken SKB 3710, POM-1948-49. M-A Most Elusive! MB 15

V0609. ITALO TAJO, w.Morel Cond.: DON CARLOS – Ella giammai m’amo; Dormiro sol, 2s. 12” RCA 12-1325, POM-1949. M-A, as unplayed! Beautiful beveled edge pressing. Most Elusive! MB 15

"The words are more important than the music. If you give dramatic expression to the words, the voice will respond better. Think more about the words. The lighter you make the voice, the better it is."
- Italo Tajo, LOS ANGELES TIMES, 29 March, 1987


V0610. ADALGISA GIANI: LA BOHEME – Ohè la, le guardie / GEMMA BOSINI: Sa dirmi, scusi, qual’ è l’istreria? (Act III). 10” black V 78438, POM-1917. M-A MB 10

V0611. AUGUSTO SCAMPINI: Ricordanze – Tu mi baciasti (Vittadini). 12” 5-line Pat.’08 V 76014 (1274c), POM-1907. Never listed in a North American Victor catalogue. A to M-A MB 45

V0612. AUGUSTO SCAMPINI: GUGLIELMO TELL – O muto asil. 12” red Milano Pre-Dog 052258 (1549c), POM-1907. A to M-A, lovely copy has faintest rubs, inaud. MB 45

“Augusto Scampini debuted in 1905 at Garlasco as Cavaradossi in TOSCA. In 1907 he guested in Teatro de l'Opera, Buenos Aires in Massenet’s HÉRODIADE. In the same year he sang in Teatro Massimo, Palermo as Radames in AIDA and as Samson in SAMSON ET DALILA. Then he guested in the big theatres of Italy, Spain, South America and Russia with great success. In the 1910-11 season he appeared at La Scala in SIMON BOCCANEGRA and in Pacini’s SAFFO. In 1912 he sang at the Teatro Costanzi, Rome as Manrico in IL TROVATORE, in 1915 at Teatro Politeama, Pisa as Radames in AIDA. In the 1913-14 season he sang at the German theatre, Prague. The critics regarded him as successor to Enrico Caruso. In 1916 he sang in Spain and in Santiago de Chile. In the First World War he volunteered to the Italian army and lost a leg. His career finished, he then taught in Barcelona.”
- Ned Ludd


V0613. ROMEO BERTI: Ave Maria (Bach-Gounod) / GINA CIAPARELLI: FAUST – Air des bijoux (in Italian). 10” black Col. A534 (10526/3145), POM-1905. M-A MB 20

V0614. ROMEO BERTI: TOSCA – E lucevan le stelle. 10” black & silver Col. 10525, POM-1905. A-B, very decent copy has lt.rubs & sev. very lt. scrs, very ltly audible; nice bright flush label. M-A 15

V0615. ROMEO BERTI: L’AFRICANA – O Paradiso! 10” black & silver Col. 10539, POM-1905. A-B, very decent copy has lt.rubs, very ltly audible; nice bright flush label. M-A 15

V0616. BERENICE DE PASQUALI (Emma Laurier, Edith Russell or Bernice James): Good-bye (Tosti). 10” black & silver Col. 25928, POM-1906. A to M-A, an exceptional copy; nice bright flush label. M-A 15

“De Pasquali was born in Boston and practically all of her musical training was received in New York as a pupil of Oscar Saenger. She made her Milan debut in 1900 as Gilda. She married Italian tenor Pietro de Pasquali who put together his own opera troupe, which included his wife as principal soprano. They toured the United States, and her Metropolitan Opera debut was as Violetta, 2 Jan., 1909. She once replaced an ill Marcella Sembrich as Susanna in a performance there of LE NOZZE DI FIGARO. She remained there until 1917 as a principal coloratura soprano. Her successes, however, were not limited to America as she appeared in Mexico, Cuba, South Africa and Europe. Her voice is a clear, high, flexible soprano, equally fine for concert or opera. While working the Orpheum vaudeville circuit in Omaha, Nebraska, she developed double pneumonia and died there 2 weeks later.”
- Ashot Arkelyan


V0617. ANTENORE REALI, w.Basile Cond.: ERNANI – O de’ verd’anni miei / LA GIOCONDA – O monumento. 12” green Cetra BB.25150, POM-12 Jan., 1946 / 26 Sept., 1944. M-A MB 15

“Antenore Reali was a baritone [who] may have gone relatively unnoticed for several reasons. His best years coincided with World War II [when] there were a lot of good Italian baritones active at the same time. While he appeared in all the major Italian houses, he never appeared in the Americas. And finally, he didn’t make very many recordings. His voice is a big, beefy, dark baritone that is powerful in its upper register.”
- Neil Kurtzman, 18 Sept., 2013


V0618. CARLO DANI: MEFISTOFELE – Giunto sul passo estremo / LA FAVORITA – Spirto gentil. 10½” Milano Fonotipia 39961/69 (XPh 2329/2300). M-A MB 25

V0619. CARLO DANI: L’ELISIR D’AMORE – Una furtiva lagrima / I PESCATORI DI PERLE – Mi par d’udir. 10½” Milano Fonotipia 39963/64 (XPh 2299/2347). M-A MB 25

V0620. CARLO DANI: MANON – Le rêve / Ah fuyez, douce image (both in Italian). 10½” Columbia-Fonotipia 39967/68 (XPh 2300/2301). M-A, choice copy has, Sd.2 only, 2 wee pressing ripples. MB 25

V0621. CARLO DANI: DON PASQUALE – Cercherò lontana terra / Com’è gentil. 10½” Milano Fonotipia 39965/66 (XPh 2320/21). M-A, lovely copy has faintest rubs, inaud. MB 25

V0622. CARLO DANI: TOSCA – Recondita armonia / MANON LESCAUT – Donna non vidi mai. 10½” Milano Fonotipia 39959/60 (XPh 2335/38). A, lovely copy has lt.rubs, inaud. MB 20

“In the 1902-03 season Carlo Dani made his Metropolitan Opera debut as the Duke in RIGOLETTO, on December 5, 1902, opposite Marcella Sembrich as Gilda, Louise Homer as Maddalena, Antonio Scotti in the title role, and Marcel Journet as Sparafucile. He subsequently sang there in RIGOLETTO, PAGLIACCI, LA TRAVIATA, LA BOHÈME and DON PASQUALE with Marcella Sembrich and Antonio Scotti. Dani sang at the Met only during 1902-03. The next season, his roles, except Ernesto, were assumed by Enrico Caruso. At the Teatro Coliseo in Buenos Aires he guested in 1907 as Elvino in LA SONNAMBULA, as Alfredo in LA TRAVIATA (with Luisa Tetrazzini in the title role), as Almaviva in IL BARBIERE DI SIVIGLIA and as Nemorino in L’ELISIR D'AMORE. In 1907 he also sang at the Teatro Politeama of São Paulo.”
- Ashot Arkelyan


V0623. LINA BRUNA-RASA: MANON LESCAUT – In quelle trine morbide / TOSCA – Vissi d’arte. 10” blue Italian Col. GQ 7103, POM-1928. M-A MB 15

V0624. LINA BRUNA-RASA & CARLO GALEFFI: AÏDA – Rivedrai le foreste imbalsamate, 2s. 12” dark-blue PW Eng. Col. D18052, POM-1928. M-A, exceptional copy; this very forward recording usually turns up considerably greyed. MB 12

V0625. LINA BRUNA-RASA, FERDINANDO CINISELLI & BRUNO CARMASSI: MEFISTOFELE – Forma ideal purissima / La Scala Chorus: IL TROVATORE – Chi del gitano. 10” brown PW Eng. Col. D5329, POM-1928. A, lovely copy w.faintest rubs, inaud. MB 15

V0626. FERRUCCIO TAGLIAVINI, w.Ermelinda Magnetti (Pf.): L’heure exquise (Hahn) / Élégie (Massenet). 10” blue Cetra AT 0129, only form of issue, 20 July, 1948. M-A Exceedingly Rare! MB 35

V0627. FERRUCCIO TAGLIAVINI, w.Gallino Cond.: VOGLIO VIVERE COSÌ (Film) – Voglio vivere così / Tu non mi lascerai (both d’Anzi, from the 1941 film). 10" dark-blue Italian Cetra AT-0115, only form of issue, 9 Dec., 1941. M-A Exceedingly Rare! MB 35

V0628. FERRUCCIO TAGLIAVINI, w.Petralia Cond.: LA DONNA È MOBILE (Film) – Malinconia d’amore / Ho messo il cuore nei pasticci (both d’Anzi, from the 1941 film). 10” pale-blue Cetra AT 0125, only form of issue, 6 Nov., 1942. M-A Exceedingly Rare! MB 35

V0629. FERRUCCIO TAGLIAVINI, w.Cellini Cond.: Musica proibita (Gastaldon) / Me so ‘nbriacato ‘e sole (d’Esposito). 10” pale-blue Cetra AT 0295, POM-26 Oct., 1951, New York. M-A MB 25

V0630. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L’ARLESIANA – È la solita storia (Cilea) / I QUATTRO RUSTIGHI – Luceta xe un bel nome (Wolf-Ferrari). 12” red Cetra BB 25056, POM-23 June, 1940. M-A Exceedingly Elusive! MB 25

V0631. FERRUCCIO TAGLIAVINI, w.Rossi Cond.: LUISA MILLER – Quando le sere al placido / MARTHA – M’appari. 12” blue Cetra BB 25230, POM-17 / 19 July, 1948, only form of issue, Sd.1. M-A MB 15

V0632. FERRUCCIO TAGLIAVINI, w.Rossi Cond.: LA FANCIULLA DEL WEST – Ch’ella mi creda libero / ANDREA CHÉNIER – Come un bel dì di Maggio. 12” red Cetra BB 25217, only form of issue, 13/16 July, 1948. M-A MB 25

V0633. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: MANON – En fermant les yeux (Le rêve) / MIGNON – Adieu, Mignon, courage (both in Italian). 12” dark-green Cetra BB 25119, only form of issue, 12 / 14 June, 1943. M-A, lovely copy has occasional faintest rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 20

V0634. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L’AMICO FRITZ – Ed anche Beppo amò / I LOMBARDI – La mia letizia. 12” green Cetra BB 25026, POM-23 Nov, 1940. M-A, lovely copy has occasional faintest rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 20

V0635. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: LA SONNAMBULA – Prendi, l'anel ti dono / FERRUCCIO TAGLIAVINI & PIA TASSINARI, w.Rossi Cond.: LA TRAVIATA – Parigi, o cara. 12” blue Cetra BB 25231, POM-5 Oct., 1940 / 19 July, 1948, only form of issue, Sd. 2. M-A, gleaming copy has tiny edge nick, far from grooves. MB 15

V0636. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: LA SONNAMBULA – Prendi, l'anel ti dono / FALSTAFF – Dal labbro il canto. 12” dark-green Cetra BB 25022, POM-5 Oct., 1940. M-A, lovely copy has occasional faintest rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 20

V0637. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L'ELISIR – Una furtiva lagrima / RIGOLETTO – Parmi veder le lagrime. 12” dark-green Cetra BB 25058, POM-23 June, 1940. M-A, lovely copy has occasional faintest rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 20

V0638. FERRUCCIO TAGLIAVINI, w. Rossi Cond.: DON PASQUALE – Sogno soave e casto / L'ELISIR – Quant’è bella. 12” blue Cetra BB 25219, only form of issue, 16 / 17 July, 1948. M-A, a gleaming copy. MB 20

V0639. FERRUCCIO TAGLIAVINI, w.Basile Cond.: WERTHER – Pourquoi me réveiller? / w.Rossi Cond.: MARTHA – M’appari. 12” red Cetra BB 25182, POM-18 /19 July, 1948. M-A, gleaming copy has, Sd. 2 only, 2 faintest rubs, inaud. MB 20

V0640. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: TOSCA – O dolci mani (as a solo) / BARBIERE – Ecco ridente in cielo. 12” dark-green Cetra BB 25181, POM-1942. M-A, lovely copy has faintest rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 20

V0641. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: TOSCA – O dolci mani (as a solo) / BARBIERE – Ecco ridente in cielo. 12” dark-green Cetra BB 25181, POM-1942. M-A, lovely copy has faintest rubs, inaud. MB 12

V0642. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: TOSCA – O dolci mani (as a solo) / E lucevan le stelle (1942 Version). 12” red Cetra BB 25118, POM-1942. M-A [Sd. 1 presents Tagliavini at his most remarkably enchanting!] MB 15

V0643. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: TOSCA – Recondita armonia / E lucevan le stelle (1941 Versions). 12” dark-green Cetra BB 25040, POM-1941. M-A, lovely copy has faintest rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 20

V0644. FERRUCCIO TAGLIAVINI & MAGDA OLIVERO, w.Tansini Cond.: L’AMICO FRITZ – Suzel, buon dì (Cherry Duet), 2s. 12” red Cetra BB 25050, POM-27 Nov., 1939. M-A MB 35

V0645. FERRUCCIO TAGLIAVINI & PIA TASSINARI, w.Basile Cond.: TOSCA – Or lasciami al lavoro, 2s. 12” blue Cetra BB 25232, POM-17 July, 1948. M-A, a gleaming copy. MB 20

“After World War II, Ferrucio Tagliavini Tagliavini toured Italy performing for American soldiers, whose reports brought him to the attention of the American opera world. His recordings, which included a 1942 version of L'AMICO FRITZ conducted by Mascagni, as well as arias by Verdi, Bellini, Cilea and Puccini, seemed to support those early reports. He made his United States debut at the Chicago Opera in October 1946, after a tour of Central and South America. When Mr. Tagliavini made his Met debut in LA BOHEME, three months later, critics praised his sound and his projection, and noted that every one of his arias was followed by a show-stopping ovation. By the early 1950s, though, he cut down on his appearances at the Met, preferring to spend his time in Europe.”
- Allan Kozinn, THE NEW YORK TIMES, 2 Feb., 1995


V0646. GIACOMO LAURI-VOLPI: Ideale / L’ultima canzone (both Tosti). 10” gold Bruns.15067, POM-19 Feb., 1923. M-A MB 15

V0647. GIACOMO LAURI-VOLPI: Manella mia (Valente) / Cielo turchino (Ciociano). 10” purple Bruns. 10172, only form of issue, 24 Dec., 1923 / 25 Jan., 1924. M-A MB 20

V0648. GIACOMO LAURI-VOLPI: Carme (de Curtis) / Mamma mia, che vo sape? (Nutile). 10” purple Bruns.10131, POM-24 / 1 March, 1923. M-A MB 15

V0649. GIACOMO LAURI-VOLPI: O sole mio (di Capua) / Lasciati amar (Leoncavallo). 10” purple Bruns. 10244, only form of issue, 7 March, 1923 / 25 Jan., 1924. M-A, lovely copy has, Sd.1 only, infinitessimal pressing bump, inaud. MB 12

V0650. GIACOMO LAURI-VOLPI: Luna d’estate (Tosti) / Serenata (Mascagni). 10” purple Bruns. 10136, POM-25 / 29 Jan., 1924. M-A MB 12

V0651. GIACOMO LAURI-VOLPI: IL TROVATORE – Ah! si ben mio / Di quella pira. 10” gold Bruns. 15095, only form of issue, 12 April, 1923 / 10 April, 1924. M-A MB 15

V0652. GIACOMO LAURI-VOLPI: RIGOLETTO – La donna è mobile. 10” pale & dark-blue Okeh 63003 (Pho 5307-2), POM-11 Dec., 1922. A-, fine copy has lt.rubs,. inaud. MB 10

V0653. GIACOMO LAURI-VOLPI: RIGOLETTO – La donna è mobile / Questa o quella. 10” gold Bruns. 15047, only form of issue, 26 Feb. / 1 March, 1923. M-A MB 12

V0654. GIACOMO LAURI-VOLPI: NORMA – Meco all’altar di venere / TOSCA – E lucevan le stelle. 10” Orth Vla 1318, POM-16 / 31 Jan., 1928. A to M-A, lovely copy has faintest rubs, inaud. MB 8

V0655. GIACOMO LAURI-VOLPI: LA GIOCONDA – Assassini! / LES CONTES D’HOFFMANN – Légende de Kleinzach. 10” Orth Vla 3052, POM-10 April, 1929. M-A MB 8

V0656. GIACOMO LAURI-VOLPI: PAGLIACCI – Vesti la giubba / CAVALLERIA - Brindisi. 10” gold Bruns. 15085, POM-5 April, 1923. M-A MB 12

V0657. GIACOMO LAURI-VOLPI: L’ARLESIANA - E la solita storia / NINO PICCALUGA: OTELLO – Niun mi tema. 11¾“ Milano Fonotipia L74911/03 (xxPh 5316-2/5280-2), POM-14 Dec. / 3 April, 1922. M-A, lovely copy has faintest rubs, inaud. MB 20

V0658. GIACOMO LAURI-VOLPI: CAVALLERIA – Addio alla madre / ANDREA CHÉNIER – Un dì all’ azzurro spazio. 12” gold Bruns. 50038, only form of issue, 10 Feb. / 28 March, 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0659. GIACOMO LAURI-VOLPI: LO SCHIAVO - Quando nascesti tu (Gomes) / LA BOHEME - Che gelida manina. 12” gold Bruns.50073, only form of issue, 12 April / 12 March,1923. A to M-A, lovely copy has faintest rubs, inaud. MB 12

V0660. GIACOMO LAURI-VOLPI: LO SCHIAVO - Quando nascesti tu (Gomes) / I PURITANI - A te, o cara. 12” Orth Vla 7226, POM-9 Jan.,1929 /16 Jan., 1928, resp. M-A MB 10

V0661. GIACOMO LAURI-VOLPI: CARMEN – La fleur que tu m’avais jetée / FAUST - Salut! demeure. 12” Scroll V 7389, POM-29 Jan., 1930, on Z-type Shellac. A to M-A, lovely copy has faintest rubs, inaud. MB 12

V0662 GIACOMO LAURI-VOLPI: CARMEN – La fleur que tu m’avais jetée / FAUST - Salut! demeure. 12” PW V 7389, POM-29 Jan., 1930. M-A MB 12

V0663. GIACOMO LAURI-VOLPI: LES HUGUENOTS - Plus blanche que la blanche ermine (in Italian) / FAUST – Salut! demeure. 12” Mauve & Gold HMV AGSB 57, POM-29 Jan., 1930, Sd.1 from Unpublished Master. M-A MB 25

V0664. GIACOMO LAURI-VOLPI: MEFISTOFELE – Giunto sul passo / WERTHER – Pourquoi me réveiller? (in Italian). 10” blue Italian Odeon B 3733, (Pho 5313/12), POM-12 / 16 Dec., 1922. M-A MB 15

V0665. GIACOMO LAURI-VOLPI: L’AFRICANA - O paradiso! / I PURITANI - A te, o cara. 10” blue Italian Odeon B 3731 (Pho 5311/12), POM-12 / 15 Dec., 1922. M-A MB 15

V0666. GIACOMO LAURI-VOLPI: L’AFRICANA - O paradiso! / LA FAVORITA – Una vergine, un angiol di Dio. 10” pale & dark-blue Okeh 6011 (Pho 5311/20), POM-12 Dec., 1922. A-, fine copy has lt.rubs,. inaud. MB 10

V0667. GIACOMO LAURI-VOLPI, w.Ricci Cond. Rome Opera House Orch.: TURANDOT – Non piangere, Liù / LA GIOCONDA – Cielo e mar! 12” HMV DB 6352, only form of issue, 31 July, 1946 [Lauri-Volpi’s final 78rpm! Most extraordinary to have retained such vocal prowess into his mid-fifties!] M-A MB 10

V0668. GIACOMO LAURI-VOLPI, w.Ricci Cond. Rome Opera House Orch.: TOSCA - Recondita armonia / E lucevan le stelle. 12” HMV LVDP 6389, only form of issue, 30 July, 1946.

"Lauri Volpi was a highly cultivated, deeply religious man. He shunned publicity in every form and, unfortunately for us, hated making records. He was fundamentally a timid man, but had to be aggressive in order to survive in the cynical operatic environment. Lauri Volpi and Maria Jeritza premiered TURANDOT at the Met on 16 November 1926. On the opening night, Lauri-Volpi noticed that the public remained unresponsive to the aria 'Nessun Dorma', as Puccini had written it - that is, without the'corona' on the final high B. So, after getting Serafin's approval, the night of the second performance, Lauri-Volpi, for the first time in the history of TURANDOT, topped off the aria with a sustained high B which [made] the audience delirious. He can rightly be called the creator of the 'Nessun Dorma' as it is sung today."
- Dr. Nardoianni, (personal acquaintance of Lauri-Volpi)


V0669. GIACOMO LAURI-VOLPI, w.Ghione Cond.: L’AFRICANA – O paradiso! / ANDREA CHÉNIER – Un dì all’ azzurro spazio. 12” LVDP DB 2263, POM-28 May, 1934, only form of issue, Sd.1. A to M-A, lovely copy has faintest rubs, inaud. MB 10

V0670. GIACOMO LAURI-VOLPI, w.Ghione Cond.: RIGOLETTO – Ella mi fu rapita; Parmi veder le lagrime, 2s. 10” LVDP DA 1384, only form of issue, 29 May, 1934. M-A MB 12

V0671. GIACOMO LAURI-VOLPI, w.Olivieri Cond.: IL TROVATORE – Di quella pira / RIGOLETTO – La donna è mobile. 10” LVDP DA 5413, only form of issue, 19 Oct. 1941. M-A, as Unplayed! MB 10

V0672. GIACOMO LAURI-VOLPI, w.Ghione Cond.: MANON LESCAUT - Ah! non v’avvicinate…No! pazzo son! / GIACOMO LAURI-VOLPI & LUIGI BORGONOVO: MADAMA BUTTERFLY – Addio fiorito asil. 10” LVDP DA 1385, only form of issue, 30 May, 1934. M-A MB 12

V0673. GIACOMO LAURI-VOLPI, w.Cordone Cond.: LA FANCIULLA DEL WEST – Ch’ella mi creda libero / TURANDOT – Nessun dorma. 10” LVDP DA 5427, only form of issue, 15 May, 1942. Scarce wartime issue. M-A MB 12

V0674. GIACOMO LAURI-VOLPI & GINO BECHI, w.Arduini Cond.: FORZA - Invano, Alvaro, 2s. 12” LVDP DB 5448, only form of issue,2 / 3 July, 1943. M-A MB 12

V0675. GIACOMO LAURI-VOLPI, w.Marinuzzi Cond. La Scala Orch.: OTELLO – Dio! mi potevi scagliar / Niun mi tema. 12” LVDP DB 5415, only form of issue, 1941. M-A MB 12

V0676. GIACOMO LAURI-VOLPI, w.Marinuzzi Cond. La Scala Orch.: OTELLO – Esultate!; Ora e per sempre, addio / GIACOMO LAURI-VOLPI & MARIO BASIOLA: Si, pel ciel. 12” LVDP DB 5416, only form of issue, 1941. M-A MB 12

V0677. GIACOMO LAURI-VOLPI & MARIA CANIGLIA, w.Marinuzzi Cond. La Scala Orch.: OTELLO – Già nella notte densa, 2s. 12” LVDP DB 5417, POM-1941. M-A MB 12

"For the mercurial Giacomo Lauri-Volpi, a case could be made that his voice - or, at least, his high notes - had no equal in his day. It was not a singularly beautiful voice, especially, although his mezza voce singing could be ravishing. Although his acting could be fiery, Lauri-Volpi was not an exacting musician, and could often be counted on to alter the time values of high notes....his high notes were phenomenal. As anyone who sang with him will underscore, the high C was nothing for him."
- Rosa Ponselle, A SINGER'S LIFE, pp.92-93


V0678. DUSOLINA GIANNINI: Fà la nana bambin / In mezzo al mar (1924 Versions) (both Sadero). 10” blue V 45413, POM-6 March, 1924 – very brief catalogue life. M-A. MB 15

V0679. DUSOLINA GIANNINI: Non me lo dite / Penso (both Tosti). 10” blue V 45427, POM-6 March / 29 May, 1924 – very brief catalogue life, far more elusive than V680, above. M-A. MB 20

V0680. DUSOLINA GIANNINI, w.Raucheisen (Pf.): Zueignung / Allerseelen (both Strauss). 10” PW Australian HMV DA 1029, only form of issue, 25 Jan., 1929. M-A, choice copy of desirable Australian issue. MB 20

V0681. DUSOLINA GIANNINI, w.Byng Cond.: O sole mio (di Capua) / Manella mia (Neapolitan Folk). 12” PW Czech HMV DB 1247, only form of issue, 20 Dec., 1928. A to M-A, lovely copy of best-possible Czech issue. MB 20

V0682. DUSOLINA GIANNINI, w.Sabajno Cond.: CARMEN – En vain pour éviter / Habañera (in French!). 12" PW Electrola DB 1792, POM-1932. A to M-A, lovely copy has faintest rubs, inaud. MB 20

V0683. DUSOLINA GIANNINI, w.Sabajno Cond.: FORZA – Pace, pace, mio Dio! / La vergine degli angeli. 12" PW Electrola DB 1228, POM-17 Dec. / 29 Oct., 1928. A to M-A, lovely copy has faintest rubs, inaud. MB 20

V0684. DUSOLINA GIANNINI, w.Sabajno Cond.: NORMA – Casta diva / Ah! bello a me ritorna. 12" LVDP DB 1576, POM-1931. M-A, gleaming copy of preferred late LVDP issue. MB 12

“Dusolina Giannini was born in Philadelphia to Italian parents and studied with her father, Ferruccio Giannini, who was a tenor and ran his own opera company. New York was the scene of her first triumph. She substituted for the indisposed Anna Case at a concert in Carnegie Hall. In 1924 she started recording for the Victor company. The same year she was very successful in London. In 1925 she made her debut as Aida at the Hamburg State Opera. She appeared there until 1930. In 1928 she sang a number of highly successful performances at Covent Garden. She was invited to sing Aida in the complete recording with Pertile, Minghini-Cattaneo and Inghilleri under Sabajno. This recording enjoyed almost legendary fame and familiarized her name throughout the world. In 1936 she made her Met debut as Aida and remained a member of the Met ensemble until 1941. She is a true spinto soprano of brilliance (forward placement), above all in the upper register. Dusolina Giannini is an expressive and passionate singer, backed by a strong temperament and impeccable musicianship.”
- Andrea Shum-Binder, subito-cantabile


V0685. MARIO ANCONA: Invano! / Malìa (both Tosti). 9 1/4” center start H & D Pathé 1531, recorded 1905, Milano, announced, in Original Pathé sleeve. A to M-A, choice copy has faintest hint of grey on peaks, the sole copy ever to have passed through here. MB 15

V0686. MARIO ANCONA: Mia sposa sarà la mia bandiera (Rotoli). 12” Pat.’12 Vla 88167, only form of issue, 26 March, 1908. A-, lovely copy has faint rubs, inaud. MB 12

V0687. MARIO ANCONA: Mia sposa sarà la mia bandiera (Rotoli). 12” S/S Special RCA vinyl Pressing of C-6056-1, POM-26 March, 1908. Remarkably quiet surface. M-A MB 20

V0688. MARIO ANCONA: Sérénade de Don Juan (Tschaikowsky). 12” Pat.’12 Vla 88168, only form of regular issue, 26 March, 1908 (appeared otherwise only as extremely rare very early IRCC 13). M-A, glorious copy has very faintest rubs, inaud., hardly worth mention. MB 20

V0689. MARIO ANCONA: OTELLO – Era la notte. 10” GP V 87015 (‘Take’ 1, B-4971-1), only form of issue, 13 Dec., 1907. A to M-A, superb copy has dust mk, hardly worth mention. MB 15

V0690. MARIO ANCONA: ANDREA CHÉNIER – Nemico della patria. 12” Pat.’12 Vla 88170, only form of regular issue, 20 March, 1908, Orig. ‘A’ Plate Issue, (appeared otherwise only as extremely rare IRCC 130). M-A, an extraordinarily bright copy. MB 20

V0691. MARIO ANCONA: DINORAH – Sei vendicata assai (Meyerbeer). 12” Pat.’12 Vla 88169, only form of regular issue, 20 March, 1908, Orig. ‘A’ Plate Issue, (appeared otherwise only as extremely rare IRCC 108). M-A, glorious copy has very faintest rubs, inaud., hardly worth mention. MB 15

V0692. MARIO ANCONA: DINORAH – Sei vendicata assai (Meyerbeer). 12” white Vla 88169, with Victor ‘Spiderweb’ embossed on verso, only form of regular issue, 20 March, 1908, (appeared otherwise only as extremely rare IRCC 108). M-A, an extraordinarily bright copy of a preferred late pressing. MB 20

V0693. MARIO ANCONA: DINORAH – Sei vendicata assai (Meyerbeer). 12” S/S Special RCA vinyl Pressingof C-6044-1, POM-20 March, 1908. Remarkably quiet surface. M-A MB 20

V0694. MARIO ANCONA: BALLO – Eri tu. 12” GP V 88081, POM-3 April, 1907, Orig. ‘A’ Plate Issue. A-, lovely copy has faint rubs, inaud.; minor pressing bump at very beginning, very faintly audible only during orchestral intro. MB 15

V0695. MARIO ANCONA: LA FAVORITA – A tanto amor. 12” Pat.’12 Vla 88063, Never Doubled; (the rare IRCC 108 issue ia a Pantograph dubbing). M-A MB 20

V0696. MARIO ANCONA: ERNANI – O de’ verd’anni miei. 12” V 88062, POM-6 March, 1907, Never Doubled in any regular series, only as the very rare AGSB 64 which was never circulated. M-A, an immaculate copy! MB 20

V0697. MARIO ANCONA: ERNANI – O de’ verd’anni miei / FAUST – Écoute-moi bien (in Italian). 12” mauve & gold HMV AGSB 64, POM-6 March, 1907 / 6 Jan., 1908. Sd.2 never officially released, its first appearance was IRCC, in 1938! Since the above issue has the IRCC imprint in shellac, Addison Foster (AGS) declined its release! MINT MB 25

V0698. MARIO ANCONA: PAGLIACCI – Prologo (Un nido di memorie). 12” Milano G & T 052075z (227m), POM-1904. A-, remarkable copy has very faintest ruibs & very occasional minor scuff, inaud. MB 45

V0699. MARIO ANCONA: PAGLIACCI – Prologo (Un nido di memorie). 12” S/S Special RCA vinyl Pressing of 227m, POM-1904. Remarkably quiet surface. MINT MB 25

V0700. MARIO ANCONA & BESSIE ABOTT: RIGOLETTO – Tutte le feste al tempio. 12” GP V 89013, early ‘B’ Plate Issue, POM- 6 Jan., 1908, Never Doubled. A to M-A MB 20

V0701. MARIO ANCONA & BESSIE ABOTT: RIGOLETTO – Tutte le feste al tempio. 12” RCA red vinyl Special Pressing of C-4991-1, with Victor ‘Spiderweb’ embossed on verso, POM-6 Jan., 1908. Remarkably quiet surface. M-A MB 25

V0702. MARIO ANCONA & MARCEL JOURNET: I PURITANI - Suoni la tromba. 12” GP V 88500, POM- 6 March, 1907, Never Doubled in any regular series, only as the exceedingly rare HRS 1003. A to M-A MB 20

"Mario Ancona took on the role of Tonio in various first performances of PAGLIACCI, including Covent Garden and the Metropolitan, two houses in which he was frequently heard during the 1890s. His return to America in 1906 was with Hammerstein’s Manhattan Opera. In 1913 and 1914 Ancona appeared with the Boston Opera, singing his familiar repertoire, which included Rigoletto, Barnaba, Iago, Marcello, and Tonio, and adding Rafaele in Wolf-Ferrari’s I GIOIELLI DELLA MADONNA.”
- Vincent Giroud


V0703. MARIO ANCONA: : LA DAMNATION DE FAUST – Voici des roses / Devant la maison (both in Italian) (Berlioz). 11¾” etched label center-start H & D Pathé 4317/4323, recorded 1906, Paris. M-A MB 25

V0704. MARIO ANCONA: : OTELLO – Era la notte / LA FAVORITA – Vien, Leonora. 11¾” etched label center-start H & D Pathé 4320/4325, recorded 1906, Paris. M-A MB 25

V0705. GINO GIOVANNELLI: MANON - Ah, fuyez! (in Italian) / REMO ANDREINI & RICCARDO TEGANI: Manon la catena (Act V). 12” blue Pat.’12 V 55001 (1541c/1518½ c), POM-1908. M-A, as Unplayed! MB 12

V0706. ELDA CAVALIERI: Non to ricordi più (Doda). 10” GP V 64067, Orig. ‘A’ Plate Issue, POM-27 Oct., 1906, issued USA only. M-A, choice copy has very faintest rubs, inaud. MB 20

V0707. ELDA CAVALIERI: Tu - Habanera (de Fuentes). 10” Pat.’08 V 64064, POM-24 Oct., 1906, issued USA only. A-, fine copy has faint rubs, inaud. MB 15

V0708. ELDA CAVALIERI: La Sevillana (Yradier). 10” Pat.’08 V 64063, POM-24 Oct., 1906, issued USA only. M-A MB 20

V0709. ELDA CAVALIERI: Ave Maria (Tosti). 12” GP V 74061, POM-27 July, 1906, issued USA only. B-C, decent copy has rubs & numerous lt.scrs, momentarily audible. Offered due to rarity. MB 12

V0710. ELDA CAVALIERI: La Paloma (Yradier). 12” GP V 74060, POM-24 July, 1906, issued USA only. B-C, decent copy has rubs , lt.grey on peaks & incipient tiny hlc at edge. Offered due to rarity. MB 12

V0711. ELDA CAVALIERI: Los ojos negros(Alvarez). 12” GP V 74057, POM-26 July, 1906, issued USA only. B, decent copy has rubs , lt.grey on peaks & mended 2” hlc. Offered due to rarity. MB 12

V0712. ELDA CAVALIERI: ADRIANA LECOUVREUR – Io son l’umile ancella. 10” GP V 64050, POM-18 Oct., 1906, issued USA only. M-A, choice copy has very faintest rubs, inaud. MB 20

V0713. ELDA CAVALIERI: ANDREA CHÉNIER – La mamma morta. 10” GP V 64062, POM-18 Oct., 1906, issued USA only. M-A, choice copy has very faintest rubs, inaud.; uncommonly bright label. MB 20

V0714. ELDA CAVALIERI: FEDORA – O grandi occhi lucenti. 10” GP V 64060, Orig. ‘A’ Plate Issue, POM-18 Oct., 1906, issued USA only. A-, fine copy has faint rubs, inaud.; tiny label nr. MB 15

V0715. ELDA CAVALIERI: LA BOHEME – Quando m’en vo. 10” GP V 64058, ‘Take’ 1, POM-21 Sept., 1906. A-, fine copy has faint rubs, inaud.; faintest label nr. MB 15

V0716. ELDA CAVALIERI: LA TRAVIATA – Addio del passato. 10” GP V 64057, ‘Take’ 1, POM-21 Sept., 1906, issued USA only. M-A, extraordinary copy has faintest label nr. MB 15

V0717. ELDA CAVALIERI: FORZA – Pace, pace, mio Dio! 12” Special RCA red vinyl Pressing of C-3634-1, POM-26 July, 1906. Remarkably quiet surface. M-A MB 25

V0718. ELDA CAVALIERI: LA GIOCONDA – Suicidio! 12” Pat.’08 V 74048, POM-27 July, 1906. M-A, exceptional copy has faintest label nr. MB 25

V0719. ELDA CAVALIERI: MEFISTOFELE – L’altra notte. 12” Pat.’08 V 74049, POM-26 July, 1906. M-A, an extraordinary copy! MB 25

V0720. ELDA CAVALIERI: AIDA – O Patria mia. 12” GP V 74055, Orig. ‘A’ Plate Issue, POM-14 Sept., 1906, issued USA only. M-A, choice copy has very faintest rubs, inaud. MB 25

V0721. ELDA CAVALIERI: TOSCA – Vissi d’arte. 12” 5-line Pat.’08 V 74054, POM-14 Sept., 1906. B-C, decent copy has rubs & lt.grey on peaks. Offered due to rarity. MB 12

V0722. ELDA CAVALIERI: LA GIOCONDA – Suicidio! / CLAUDIA MUZIO: LA BOHEME – Mi chiamano Mimi. 12” silver Vla IRCC 39 (C-3630-1/298aj), POM-27 July, 1906 / 20 June, 1911. Numbered Copy #6 of extremely limited edition. M-A, superb copy has, Sd.1 only, very faintest rubs, inaud. & hardly worth mention. MB 25

V0723. ELDA CAVALIERI: MEFISTOFELE – L’altra notte. 12” Pat.’08 V 74049, POM-26 July, 1906. M-A, an extraordinary copy! MB 25

V0724. ELDA CAVALIERI: AIDA – O Patria mia. 12” GP V 74055, Orig. ‘A’ Plate Issue, POM-14 Sept., 1906, issued USA only. M-A, choice copy has very faintest rubs, inaud. MB 25

“[Cavalieri’s] recordings are thrilling, the voice akin to Destinn or Boninsegna. I have never personally seen one of her records, they seem to be elusive and must not have remained in the catalog long. These show a dramatic soprano voice of great expressiveness and contrast to a career which was probably completed in a relatively modest setting. She must not be confused with the famous Lina Cavalieri.”
- Tim Ecker


V0725. GILDA DALLA RIZZA: OTELLO – Salce, Salce / Ave Maria. 10” pale green Col. E1895 (42083/84), POM-1913. A to M-A, fine copy has faintest rubs, inaud. MB 12

V0726. GILDA DALLA RIZZA: FORZA – La vergine degli angeli / Madre pietosa vergine. 10” pale green Col. E2459 (42070/71), POM-1913. A to M-A, fine copy has, Sd.1 only, faintest rubs, inaud. MB 12

V0727. GILDA DALLA RIZZA & LOPEZ-NUNES: CAVALLERIA – Inneggiamo, il signor non è morto / GILDA DALLA RIZZA & GAETANO TOMMASINO: CAVALLERIA – Ah, non vedi. 10” pale green Col. E2814 (42058/59), POM-1913. A-, fine copy has lt.rubs, inaud. MB 12

V0728. GILDA DALLA RIZZA & GAETANO TOMMASINO: CAVALLERIA – Tu qui, Santuzza, 2s. 10” pale green Col. E1995 (42061/62), POM-1913. A-, fine copy has lt.rubs, inaud. MB 12

V0729. GILDA DALLA RIZZA: LA TRAVIATA – Ah! fors’ è lui / GILDA DALLA RIZZA & GIOVANNI MANURITTA: Sempre libera. 12” dark green Italian Odeon N.6594 (xxPh 6284/85), POM-29 May, 1928. M-A, albeit sl. cloudy surfaces. MB 12

V0730. GILDA DALLA RIZZA: LA TRAVIATA – Addio del passato / GILDA DALLA RIZZA & GIOVANNI MANURITTA: Parigi, o cara. 12” red & gold Milano Fonotipia N.6599 (xxPh 6287/83-2), POM-29 May, 1928. [Dalla Rizza’s reading of the letter is truly redolent of Muzio!] M-A MB 12

V0731. GILDA DALLA RIZZA & GIOVANNI MANURITTA: LA TRAVIATA – Brindisi / Un dì felice, eterea. 12”red & gold Milano Fonotipia N.6592 (xxPh 6282/86), POM-29 May, 1928. M-A, lovely copy has faintest rubs, inaud. MB 12

V0732. GILDA DALLA RIZZA & GIULIO FREGOSI: LA TRAVIATA – Pura siccome un angelo…dite alla giovane – Imponete, 4s. 2-12”dark green Italian Odeon N.6641/42 (xxPh 6437/40), POM-26 Oct., 1928. M-A MB 20, the Pair.

“Dalla-Rizza made her operatic debut in Bologna (the Teatro Verdi) in 1912, as Charlotte in WERTHER. Especially acclaimed in the verismo repertory, she was regarded as being Giacomo Puccini's favorite soprano, creating Magda in his LA RONDINE (1917). Although he created the part of Minnie in LA FANCIULLA DEL WEST for Emmy Destinn, when Puccini saw Dalla Rizza in the part, he said, ‘At last I have seen my true Fanciull’. She also gave the first European performances of his SUOR ANGELICA and GIANNI SCHICCHI, at Rome in 1919. She also created roles in Pietro Mascagni's IL PICCOLO MARAT and Riccardo Zandonai's GIULIETTA E ROMEO. She was also an important interpreter of that composer's FRANCESCA DA RIMINI. One of Dalla Rizza's unexpected successes at La Scala was in LA TRAVIATA, under the baton of Arturo Toscanini.”
- Ashot Arkelyan


V0733. GIANNA PEDERZINI, w.Olivieri Cond.: Traum durch die Dämmerung (in Italian) (Strauss; in Italian) / Passione (Tagliaferri). 10" LVDP DA 5386, only form of issue, 1940. M-A, choice copy has very faintest rubs, inaud. MB 35

V0734. GIANNA PEDERZINI, w.Olivieri Cond.: Crepuscolo triste (Giordano) / CARMEN – Habanera (in Italian). 10" LVDP DA 5385, only form of issue, 1940. M-A, choice copy has wee ding, edge Sd.2, not to grooves. MB 25

V0735. GIANNA PEDERZINI, w.Salerno (Pf.): Vidalita (Williams) / Canta pe’ me (de Curtis). 10” dark-blue Cetra AT 0118, only form of issue, 5 May, 1942. M-A, choice copy has very faintest rubs, inaud. Wartime Issue, Italy only. MB 25

V0736. GIANNA PEDERZINI, w.Nastrucci Cond.: Dopo! (Tosti) / MIGNON - Connais-tu le pays? (in Italian). 12” plum LVDP S 10258, POM-6 Nov., 1930. [Exceedingly elusive & glorious ‘Desert Island’ beauty!] M-A MB 45

"[A] strong persona is the most distinguishing characteristic of Pederzini's art. Allied to it musically is how well she has thought out details of phrasing, articulation, inflection, and shading, and yet what comes across sounds as if it is being created on the spot....a strong personality, a highly developed musical intelligence, and a sense of passion for the act of singing."
- Henry Fogel, FANFARE


V0737. GIANNA PEDERZINI, w.Nastrucci Cond.: CARMEN – Séguedille / En vain pour éviter (Card Scene) (in Italian). 12” brown Parl.Odeon R.30001, POM-9 April, 1941. M-A, as unplayed! MB 12

V0738. GIANNA PEDERZINI, w.Tansini Cond.: L'ARLESIANA - Esser madre È un inferno / RISURREZIONE - Dio pietoso (Alfano). 12” brown Parl.Odeon R.30020, POM-9 April, 1941. M-A, as unplayed! MB 12

V0739. GIANNA PEDERZINI & ANTONIO GELLI, w.Nastrucci Cond.: FORZA - Al suon del Tamburo / SABAJNO Cond. La Scala Chorus: NABUCCO - Va, pensiero. 12” plum HMV JOX 43, POM-1930. M-A MB 12

"...Pederzini [was] one of the best mezzos of my whole experience. Hers was not perhaps one of the greatest vocal organs, but she used it splendidly and had a beautiful vocal intensity onstage which made her performances riveting."
- Tito Gobbi, MY LIFE, p.156


V0740. GEMMA BELLINCIONI: TOSCA – Vissi d’arte. 11½“ center start H & D Pathé 4390, recorded 1905, Paris, announced. B, decent unworn copy has numerous lt.scrs; very fine short hlc. Offered as a memento, but plays well, nevertheless. MB 20

“I have rarely been more affected by anyone with whom I have acted than by Bellincioni, who apparently did not think of herself as a singer, indeed her voice was not of the best quality and at the time it was in its decline; yet she possessed that indefinable personality and magnetism which excited the deepest emotion in the minds of her auditors.”
- David Bispham, A QUAKER SINGER’S RECOLLECTIONS


V0741. GEMMA BELLINCIONI: OTELLO – Ave Maria / LA TRAVIATA – Ah, fors’ e lui. 11” black paper label H & D Pathé 10206, recorded 1905. A to M-A, lovely copy has cloudy surfaces. MB 45

“Bellincioni transposes ‘Ah, fors’è lui’ a semitone down, a precedent established by Patti. In the opening bars she sings through the rests between the notes; in 1903 this omission of the rests was universal practice, as were the frequent tempo changes, holds, and interpolated ornaments, all sanctified by Patti and therefore approved of by Verdi. In her cadenza (a variant of Patti’s) Bellincioni sails lightly up to a beautiful, sustained soft high B, and concludes with a long, neatly articulated trill.”
- Ward Marston


V0742. HINA SPANI & GIOVANNI ZENATELLO, w.Sabajno Cond.: OTELLO - Già nella notte densa, 2s. 12” Orth Vla 6714, POM 3 Dec. / 9 Nov., 1926. M-A [Another ‘Desert-Island’ treasure!] MB 12

V0743. CLAUDIA MUZIO: Shepherd’s love (Manahan) / ORANGE BLOSSOMS - A Kiss in the dark (Victor Herbert). 10” paper label H & D Edison 82317 (9400-B/9414-B), only form of issue, 4 Feb., 1924. M-A, choice copy has, Sd.2 only, minor pressing ‘ripple’ apparently inherent in matrix. MB 12

V0744. CLAUDIA MUZIO: Nocturne Op. 9, #2 in E-flat, as ‘Aspiration!’ (Chopin) / LA BOHEME – Mi chiamano Mimi. 10” etched label H & D Edison 82234 (7880-A/7767-B), only form of issue, 27 May, 1921. M-A MB 12

V0745. CLAUDIA MUZIO: Mal d’amore (Buzzi-Peccia) / ELENA E PARIDO – Spiagge amate (Gluck). 10” paper label H & D Edison 82287 (8855-C/8854-C), only form of issue, 27 April, 1923. M-A MB 12

“Although the Edisons do not have the tonal presence of the later electrics…in the opinion of some voice connoisseurs, these Edisons provided a more spacious treatment of voices than the techniques employed by other American companies around this same time. Yet such is the force of Muzio’s personality that there is more than adequate compensation for any purely sonic limitation in the variety of emotions she could conjure up
- William Ashbrook, Marston Program Notes


V0746. CLAUDIA MUZIO: L’AFRICANA – Figlio del sol / RINALDO – Lascia ch’io pianga (Handel). 10” paper label H & D Edison 82300 (8427-A/8249-B), only form of issue, 4 Sept., 1923. M-A MB 12

V0747. CLAUDIA MUZIO: MEFISTOFELE – L’altra notte / MADAME SANS-GENE – Che me ne faccio del vostro castello? (Giordano). 10” paper label H & D Edison 82305 (8330-C/8381-B), only form of issue, 11 Feb./, 1923. M-A MB 12

V0748. CLAUDIA MUZIO: LORELEY – Dove son? (Catalani) / I VESPRI SICILIANI – Mercè, dilette amiche (Bolero) (Verdi). 10” paper label H & D Edison 82320 (7933-F/9404-C), only form of issue, 6 June, 1924. M-A MB 12

V0749. CLAUDIA MUZIO: IL TROVATORE – Tacea la notte / D’amor sull’ali rosee. 10” etched label H & D Edison 82223 (7611-C/10-H), only form of issue, 1 Nov. / 6 Dec., 1920. M-A MB 12

V0750. CLAUDIA MUZIO: ZAZA – Dir che ci sono al mondo (Leoncavallo) / CLAUDIA MUZIO & ALBERT SPALDING (Violin): Eternamente (Mascheroni). 10” etched label H & D Edison 82243 (7621-H/7941-C), only form of issue, 21 Sept., 1921. M-A MB 12

V0751. CLAUDIA MUZIO: EUGEN ONÉGIN – Letter scene (in Italian) / ANDREA CHÉNIER – La mamma morta. 10” etched label H & D Edison 82224 (7614-C/7622-B), only form of issue, 3 / 8 Nov., 1920. M-A MB 15

V0752. CLAUDIA MUZIO: CARMEN – Je dis, que rien ne m’épouvante / LES NTES D’HOFFMANN – Elle a fui, la tourterelle. 10” paper label H & D Edison 82324 (9412-B/9413-C), only form of issue, 18 Aug., 1924. M-A MB 15

"The Muzio Edisons show a great singer in her prime....The Edisons prove Muzio's was an indescribably beautiful voice”
- Albert Innaurato, OPERA NEWS, Aug., 1994


V0753. CLAUDIA MUZIO: GUILLAUME TELL - Selva opaca / BALLO - Ma dall'arido stelo divulsa. 10” Pathé Actuelle 025104, recorded 1917. M-A, a pristine copy! MB 12

V0754. CLAUDIA MUZIO: IL TROVATORE - D'amor sull'ali rosee / TOSCA - Vissi d'arte. 10” brown shellac Perfect 11523, recorded 1917. M-A, a pristine copy! MB 12

V0755. CLAUDIA MUZIO: IL TROVATORE – Tacea la notte / MANON LESCAUT – In quelle trine morbide. 10” Pathé Actuelle 025109, recorded 1917. M-A, a pristine copy! MB 12.

V0756. CLAUDIA MUZIO: ERNANI - Ernani, involami / MADAMA BUTTERFLY - Ancora un passo. 10” Pathé Actuelle 025072, recorded 1917. M-A, a pristine copy! MB 12.

V0757. CLAUDIA MUZIO: AÏDA - O cieli azzurri / GIANNI SCHICCHI - O mio babbino caro. 10” Pathé Actuelle 025106, recorded 1917. M-A, a pristine copy! MB 12.

V0758. CLAUDIA MUZIO: Canzone Guerresca (Giordano) / Inno de guerra del Carciatori (Garibaldi Hymn). 11½” grey paper label H & D US-Pathé 63020, recorded 1917. A-, very decent copy has various isolated scrs, inaud. MB 8

V0759. CLAUDIA MUZIO: Angel’s serenade (Braga). 11½” grey paper label H & D US-Pathé 52024, rec.1918. M-A MB 12

V0760. CLAUDIA MUZIO & KATHLEEN HOWARD: LES CONTES D’HOFFMANN – Barcarolle. 11½” grey paper label H & D US-Pathé 54026, recorded 1918. M-A, lovely copy has wee ec, not to grooves. MB 10

V0761. CLAUDIA MUZIO: LA BOHEME – Mi chiamano Mimi / BLANCHE ARRAL: LES NOCES DE JEANNETTE – Au bord du chemin (Air du Rossignol) (Massé). 12” mauve & gold HMV AGSB 14, POM-20 June, 1911 / 19 March, 1909. MINT MB 15

V0762. CLAUDIA MUZIO: Jean (Burleigh). 11½” grey paper label H & D US-Pathé 54067, only form of issue, 1918; Muzio’s final Pathé recording. M-A, a gleaming copy. MB 15

V0763. CLAUDIA MUZIO: O ben tornato, amore (as ‘Welcome, Love) (Roxas). 11½” grey paper label H & D US-Pathé 54062, only form of issue, 1918. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

V0764. CLAUDIA MUZIO: Until (Sanderson). 11½” grey paper label H & D US-Pathé 54038, only form of issue, 1918. M-A MB 15

V0765. CLAUDIA MUZIO: Bonjour, Suzon (in English) (Delibes). 11½” grey paper label H & D US-Pathé 54039, only form of issue, 1918 A to M-A, lovely copy has faintest pap.scr, positively inaud. MB 12

V0766. CLAUDIA MUZIO: AÏDA – Ritorna vincitor!, 2s. 11½” grey paper label H & D US-Pathé 63021, recorded 1917. M-A MB 15

V0767. CLAUDIA MUZIO: MADAMA BUTTERFLY – Ancora un passo (Entrance of Butterfly) / LA BOHEME – Mi chiamano Mimi. 11½” grey paper label H & D US-Pathé 63022, recorded 1918. M-A MB 15

V0768. CLAUDIA MUZIO: MADAMA BUTTERFLY – Un bel dì. 11½” grey paper label H & D US-Pathé 54016, recorded 1918. M-A MB 12

V0769. CLAUDIA MUZIO: LA TRAVIATA – Addio del passato. 11½” grey paper label H & D US-Pathé 54022, recorded 1918. M-A MB 12

V0770. CLAUDIA MUZIO: LA GIOCONDA – Suicidio! / OTELLO – Ave Maria. 11½” grey paper label H & D US-Pathé 63019, recorded 1917, only form of issue, Sd.1. M-A MB 15

“Muzio’s pianissimi were memorable. Not only did she employ them in tender, idyllic and elegiac moments, but she also adapted them to dramatic ends, so that on occasion the whole tension of a scene was carried on a slender thread of sound….No one has surpassed her in the variety of colour and gradation of tone of which she was capable; and her power of communication, achieved by the simplest of means, was remarkable.”
- J. B. Richards, THE RECORD COLLECTOR, 1968


V0771. CLAUDIA MUZIO, w.Licinio Refice Cond.: Ave Maria / Ombra di nube (both Cond. by the Composer). 12” dark green Italian Col. BQX 2521, POM-1935. M-A, a gleaming copy! MB 10

V0772. CLAUDIA MUZIO, w.Licinio Refice Cond.: CECILIA - La morte di Cecilia (Cond. by the Composer), 2s. 12” PW Col. 9149-M, POM-8 June, 1935. M-A MB 8

V0773. CLAUDIA MUZIO, w.Licinio Refice Cond.: CECILIA – Per amor di Gesù (L’annuncio) (Cond. by the Composer), 2s. (Creator Record, 15 Feb., 1934, Teatro Costanzi,). 12” PW Col. 9089-M, POM-19 April, 1934, on Royal Blue Shellac. M-A MB 10

V0774

V0775. CLAUDIA MUZIO & FRANCESCO MERLI: OTELLO - Già nella notte densa (Act I), 2s. 12” blue Italian Col. BQX 2510, POM-8 June, 1935. M-A MB 8

V0776. CLAUDIA MUZIO & FRANCESCO MERLI: OTELLO - Dio ti giocondi (Act III), 2s. 12” blue Italian Col. BQX 2511, POM-8 June, 1935. M-A MB 8

V0777. CLAUDIA MUZIO, w.Molajoli Cond.: Arias from Norma, Forza, La Traviata, La Sonnambula, Andrea Chénier, La Boheme, Mefistofele & L’Arlesiana, 8s. 3-12" MasterWorks Col. 9105/08-M, POM-1935, in Orig. silver print Album 289. M-A, gleaming copy of preferred MasterWorks pressing. Included is special Columbia pocket dedicating this set to Muzio’s memory, 1892-1936. MB 25, the Set.

"Opera, like any other art form, has its cult figures, typically singers who died young and enacted tragedies, on stage or sometimes in their own lives. While Maria Callas is probably the best known of these, Claudia Muzio has her own legion of devotées. Like Callas, her voice had a certain veiled tone, one making it near-perfect for tragic heroines; she was an excellent actress and a beautiful woman, and also had some major vocal troubles towards the end of her career, though was still able to thrill audiences by her vocal and physical communication. Muzio's vocal acting was poignantly subtle, based on colors and shading of her tone, rather than the harsh-toned, uncontrolled shrieks or melodramatic gulping sobs that too often passed (and still do) for dramatic high notes or powerful involvement, and she was known as 'the Duse of song', after Eleonora Duse, an actress famed for her intensity.

Her Met debut was as Tosca, in 1916, singing with Enrico Caruso and Antonio Scotti, and she appeared in each season there for the next six years, singing a total of 15 roles and 152 performances, including, in 1918, the role of Georgetta in the world premiere of Puccini's IL TABARRO."
- Anne Feeney, allmusic.com


V0778. ORESTE LUPPI: Mefisto (Beniamino Carelli) / FAUST – Le veau d’or / Souviens-toi du parré (Church Scene) (in Italian). 10½” Milano Fonotipia 39314/11 (XPh 369/370). M-A, choice copy has very faintest rubs, inaud. [Exceedingly ‘forward’ recordings, Sd.1 being most characterful!] Highly Elusive! MB 45

V0779. ORESTE LUPPI: DON GIOVANNI – Madamina!, 2s. 10½” Milano Fonotipia 39412/13 (XPh 1530/31). M-A, a superlative copy! [Another exceedingly ‘forward’ recording!] MB 20

“Oreste Luppi was Fonotipia’s star basso, and his records which dated from the company’s beginnings were of fine quality and splendid execution. There was more than a hint of Arimondi in the ease and flexibility of style and the expressive use of tone colour, and he pointed his phrases and sang with a clarity and sonority only to be found in the true bass.”
- P.G. Hurst, THE GOLDEN AGE RECORDED, p.115


V0780. ORESTE LUPPI: SIMON BOCCANEGRA – Il lacerato spirito / MEFISTOFELE – Ecco il mondo. 10½” Milano Fonotipia 39138/39206 (XPh 141/258). A-, lovely copy has lt rubs, inaud.; Sd. 2 only has wee nd, ltly audible merely a few turns. MB 12

V0781. ORESTE LUPPI: NORMA – Ah! del Tebro (1904 Version) / BARBIERE – La calunnia. 10½” Milano Fonotipia 39070/39205 (XPh 267/139). A-, lovely copy has lt rubs, inaud. MB 12

V0782. ORESTE LUPPI: ERNANI – Infelice e tuo credevi / BARBIERE – La calunnia. 10½” Columbia-Fonotipia 39203/05 (XPh 2853/54). M-A, a superlative copy! MB 20

V0783. ORESTE LUPPI: LA FAVORITA – Splendon più belle (1905 Version) / DON CARLOS – Dormiro sol. 10½” Milano Fonotipia 39318/19 (XPh 326/361). A to M-A, excellent copy has, Sd.1 only, wee pressing bump. MB 20

V0784. ORESTE LUPPI: FAUST – Le veau d’or / Vous qui faites l’andormie (1905 Versions, in Italian). 10½” Milano Fonotipia 39273/39139 (XPh 268/269). M-A, choice copy has faintest rubs, inaud. MB 20

V0785. ORESTE LUPPI: FAUST – Le veau d’or (1908 Version) / Norma – Ah! del Tebro (1908 Version). 10½” Milano Fonotipia 92376/77 (XPh3445/44). A to M-A, lovely copy has faintest rubs, inaud.; minuscule incipient hlc appears primarily Sd.1. MB 12

“Oreste Luppi made his début in 1892 at the Theatre in Foligno. His main houses were La Scala, the Constanzi, Regio in Turin, Genoa, Florence and Naples. He was the first Prince Gremin in the 1900 La Scala premiere of EUGENE ONÉGIN. Luppi created a number of roles, but his most important creation was in Mascagni’s LE MASCHERE. Luppi also guested outside of Italy, including Covent Garden and the Teatro Colón. After his career he taught singing in Milan.”
- Ashot Arkelyan


V0786. FERRUCCIO CORRADETTI: ANDREA CHÉNIER – Compiacente ai colloqui / FEDORA – Egli mi disse. 10½” Milano Fonotipia 92314/15 (XPh 3572/3497). A-, lovely copy has faint rubs, inaud. MB 20

V0787. EUGENIO GIRALDONI: DEMON – Do not weep, my child (in Italian) (Rubinstein). 10” red Victor Monarch G & T 5042 (2820-W), POM-1 March, 1906. A-B, beautiful unworn copy has one long but very light scr, only occasionally ltly audible. MB 45

V0788. EUGENIO GIRALDONI: OTELLO – Credo in un Dio crudel / Era la notte. 12” vinyl Historic Masters HMB 9, POM-12 Dec., 1905, (10¾” record pressed onto a 12” blank). MINT MB 8

“In 1900, Giraldoni earned a place in operatic history when he created the part of Baron Scarpia in TOSCA, at the Teatro Costanzi in Rome. He was at the Met in 1904-05 and also appeared in the first performance of Franchetti's LA FIGLIA DI JORIO at La Scala, in 1906. Giraldoni had a dark, resonant voice; the OTELLO arias were rendered in good style and with lack of effort. Giraldoni ranks as one of the important singers of the collector’s period,”
- P.G. Hurst, THE GOLDEN AGE RECORDED, p.100


V0789. GIUSEPPE CAMPANARI: Serenade (Sepilli). 10” flush red & gold Col. 1225, announced, only form of issue, 1903. A to M-A, an extraordinary copy! MB 195

V0790. GIUSEPPE CAMPANARI: Musica proibita (Gastaldon) / HÉRODIADE – Vision fugitive (in Italian). 12” Tri-Color Col. A5127 (30265/66), POM-13 May, 1909. A-, lovely copy has faintest rubs, inaud.; Sd.2 has wee label tear. MB 15

V0791. GIUSEPPE CAMPANARI: LES SOIRÉES MUSICALES – Tarantella (La Danza) (1905 Version) (Rossini). 10” GP V 81081, POM-28 June, 1905, Never Doubled. A-, very decent copy has lt.rubs, inaud. MB 15

V0792. GIUSEPPE CAMPANARI: LES SOIRÉES MUSICALES – Tarantella (La Danza) / BARBIERE – Largo al factotum (1909 Versions) (Rossini). 12” red Col. A5128 (30258/57), POM-3 May, 1909. A-, lovely copy has lt.rubs, inaud. MB 15

V0793. GIUSEPPE CAMPANARI: NOZZE – Non più andrai. 10” black & silver Col.4092-1, with label identification only; no performer nor repertoire, POM-1909. A-, lovely copy has lt.rubs & hint of grey on peaks; uncommonly bright label. MB 15

V0794. GIUSEPPE CAMPANARI: NOZZE – Se vuol balare / Non più andrai. 10” Tri-Color Col. A740 (4091-1 / 4092-1), POM-1909, a stunningly ‘forward’ recording! M-A MB 15

V0795. GIUSEPPE CAMPANARI: L’AFRICAINE - Adamastor, roi des vagues (in Italian). 12" GP V 85076 (C-2490-1), only form of issue,-21 April, 1905. A-, excellent copy has lt. rubs, inaud.; infinitessimal incipient hlc at very edge, of no consequence. MB 15

V0796. GIUSEPPE CAMPANARI: Mia sposa sarà la mia bandiera (Rotoli). 10” red Victor Monarch 81044 (B-744-1), only form of issue, 23 Nov., 1903. A to M-A, excellent copy has the ubiquitous pressing indents; plays beautifully, albeit noisy surface. Very brief Catalogue life! MB 35

V0797. GIUSEPPE CAMPANARI: Myosotis (Tirindelli) / PAGLIACCI – Prologo. 12” Tri-Color Col. A5126 (30265/43), POM-13 May / 12 April, 1909. A to M-A, superb copy; [Sd.1 being particularly beautiful and desirable!] MB 25

V0798. GIUSEPPE CAMPANARI: L’AFRICANA – All’erta marinar (announced apparently by himself!) / ANTONIO SCOTTI: CARMEN – Chanson du Toréador (in Italian). 10” blue & gold Col. A620 (1445 / 1205), POM-1903. M-A MB 25

V0799. GIUSEPPE CAMPANARI: BARBIERE – Largo al factotum / CARMEN – Chanson du Toréador (in Italian). 10” Tri-Color Col. A619 (1226/27), POM-1903, both announced, Sd.2 apparently by himself! M-A MB 35

V0800. GIUSEPPE CAMPANARI: BARBIERE – Largo al factotum / CARMEN – Chanson du Toréador (in Italian) (1909 Versions). 12” Tri-Color Col. A5777 (30244/57), POM-3 May / 12 April, 1909. M-A MB 15

V0801. GIUSEPPE CAMPANARI: BARBIERE – Largo al factotum (1903 Version). 10” red Victor Monarch 81012 (B-434-1), only form of issue, 18 Sept., 1903. A to M-A, excellent copy plays beautifully, albeit noisy surface. [This uproarious performance is a treasure!] Very brief Catalogue life! MB 35

V0802. GIUSEPPE CAMPANARI: BARBIERE – Largo al factotum (‘Take’ 2) (1905 Version). 10” GP V 81080 (B-2489-2 [although 2479 is embossed]), only form of issue, 28 June, 1905; Extremely brief Catalogue life! [Another exhilarating performance!] A-, lovely copy has lt.rubs, inaud. MB 15

V0803. GIUSEPPE CAMPANARI:: IL TROVATORE – Il balen. 10” GP V 81082, Orig. ‘A’ Plate Issue, POM-28 June, 1905, Never Doubled. A to M-A, lovely copy has lt.rubs, inaud. MB 15

V0804. GIUSEPPE CAMPANARI: LA TRAVIATA – Di Provenza il mar (1903 Version). 10” red Victor Monarch 81010 (B-430-2), POM-18 Sept., 1903, Never Doubled! A to M-A, lovely copy has faintest rubs, inaud.; uncommonly bright label. Very brief Catalogue life! MB 35

V0805. GIUSEPPE CAMPANARI: LA TRAVIATA – Di Provenza il mar (1905 Version). 10” GP V 81071 (B-2478-1), POM-18 April, 1905, Never Doubled. A-, fine copy has rubs, inaud. MB12

V0806. GIUSEPPE CAMPANARI: LA GIOCONDA – Pescator, affonda l’esca. 10” GP V 81074 (B-2491-1), only form of issue, 21 April, 1905. A-, fine copy has rubs, inaud. MB12

V0807. GIUSEPPE CAMPANARI: LA GIOCONDA – Pescator, affonda l’esca. 10” white Vla 81074 (B-2491-1), w.Victor ‘spiderweb’ verso, only form of issue, 21 April, 1905. M-A, an immaculate copy of preferred late pressing. MB 20

V0808. GIUSEPPE CAMPANARI: CARMEN – Chanson du Toréador (in Italian) (1903 Version). 12” Victor De Luxe 85003 (C-433-1), only form of issue, 18 Sept., 1903. A-, fine copy has rubs, inaud. MB 12

V0809. GIUSEPPE CAMPANARI: CARMEN – Chanson du Toréador (in Italian) (1903 Version). 10” GP V 81011 (B-433-1), only form of issue, 18 Sept., 1903. A-, fine copy has rubs & hint of grey on peaks, inaud. MB 20

V0810. GIUSEPPE CAMPANARI: CARMEN – Chanson du Toréador (in Italian) (1905 Version). 12” Pat. ‘12 Vla 85073 (C-2480-1), only form of issue, 18 April, 1905. M-A, an immaculate copy! MB 12

V0811. GIUSEPPE CAMPANARI: FAUST – Avant de quitter ces lieux (in Italian). 12” GP V 85086 (C-2689-1), POM-28 June, 1905, Never Doubled. A to M-A MB 20

V0812. GIUSEPPE CAMPANARI: PAGLIACCI – Prologo. 12” Tri-Color Col. 30243, POM-12 April, 1909. M-A MB 15

“Campanari performed initially as a cellist at Milan's La Scala and on tour in other parts of Europe, but he later emigrated to the United States, where he played first cello for the Boston Symphony Orchestra, and was subsequently appointed professor of cello at the New England Conservatory of Music in Boston. He resigned from both positions to devote himself to singing, which he had studied as a second 'instrument' for years, becoming a major opera star with the Metropolitan Opera. In addition, he appeared at most of the major opera houses in Europe, including several seasons at London’s Royal Opera, and also participated in concert tours with Nordica, Sembrich, Melba and Eames.

Campanari was invited to the United States by the management of the Boston Symphony Orchestra and arrived in 1884, again taking the position of first solo cellist under conductor Wilhelm Gericke. Campanari made his official operatic debut as Tonio in PAGLIACCI with Hinrichs' Opera Company in New York on 15 June 1893, being the first singer to perform the role in the United States. His Metropolitan Opera debut came on 30 November 1894, when he sang the role of the Count di Luna in IL TROVATORE with Tamagno as Manrico. In 1895, he had his first notable success singing Ford in the first American production of FALSTAFF, with Victor Maurel in the title role. He also sang the Met's first Marcello in LA BOHEME (1900) and their first Papageno in DIE ZAUBERFLÖTE (1902–1903), performed in Italian. Campanari remained with the Met where he gave more than 200 performances until 1912.

Campanari made a number of acoustic recordings prior to World War I. His first recording session was with Columbia in 1903. Despite the early date of his discs, they are remarkable for their clarity and they display the warmth and agility of his fine, steady, well-trained voice to good effect.”
- Ashot Arkelyan


V0813. ANTONIO MAGINI-COLETTI: OTELLO – Credo / LA FAVORITA – A tanto amor. 10½” Milano Fonotipia 92216/17 (XPh 3080/81). A to M-A, lovely copy has, Sd.1 only, hint of grey on peaks. MB 20

V0814. ANTONIO MAGINI-COLETTI: La Danza (Rossini) / DINORAH – Sei vendicata assai. 10½” Columbia-Fonotipia 39351/92001 (XPh 443-2/2662). M-A, a spectacular copy! MB 20

V0815. ANTONIO MAGINI-COLETTI: RIGOLETTO – Cortigiani, 2s. 10½” Milano Fonotipia 39441/42 (XPh 1527/28). A-, lovely copy has faintest pap. rubs, inaud. MB 15

V0816. ANTONIO MAGINI-COLETTI: RIGOLETTO – Pari siamo (1905 Version) / ANTONIO MAGINI-COLETTI & ORESTE LUPPI: RIGOLETTO - Signor? va, non ho niente. 10½” Milano Fonotipia 39434/39415 (XPh 1519/20). A-, very decent copy has occasional very lt.scrs, only occasionally very minimally ltly audible. MB 12

V0817. ANTONIO MAGINI-COLETTI: RIGOLETTO – Pari siamo (8 Oct., 1907 Version) / LA GIOCONDA – O Monumento. 10½” Columbia-Fonotipia 92043/42 (XPh 2661/2800). A-, lovely copy has faintest pap. rubs, inaud. MB 15

V0818. ANTONIO MAGINI-COLETTI: RIGOLETTO – Pari siamo (28 Oct., 1907 Version) / LUCIA DI LAMMERMOOR – Cruda funesta. 10½” Milano Fonotipia 92030/31 (XPh 2763/2803). A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20

V0819. ANTONIO MAGINI-COLETTI: CARMEN - Chanson du Toréador / LAKMÉ – Lakmé, ton doux regard se voile (both in Italian). 10½” Milano Fonotipia 39374/77 (XPh 414/470). A-, very decent copy has, primarily Sd.1, considerable rubs, inaud. MB 12

V0820. ANTONIO MAGINI-COLETTI, ORESTE LUPPI & FERRUCCIO CORRADETTI: CRISPINO E LA COMARE – Di Pandolfetti medico (Terzetto dei Dottori) (Ricci), 2s. 10½” Milano Fonotipia 39396/97 (XPh 481/82). A to M-A, a superb copy! MB 20

" In 1880, Magini-Colleti made his operatic debut at Rome's Teatro Costanzi, as Valentin in Gounod's FAUST. He continued to perform regularly at that opera house for the next seven years, in addition to making guest appearances in Venice, Florence, Naples and other Italian cities. In 1887 he joined the roster at La Scala, remaining there for three seasons and singing a variety of leading baritone roles. Between 1888 and 1891, Magini-Coletti sang to acclaim in Spain, Portugal, Germany, Austria and France. He also crossed the Atlantic for a series of operatic engagements in Argentina, receiving further plaudits. In 1891 he joined the stellar roster of singers at the Metropolitan Opera, participating in a two-month North American tour. His first performance with the Met touring company occurred on 9 November, in Chicago, as Telramund in LOHENGRIN. On 14 December, 1891, Magini-Coletti made a successful debut at the Metropolitan Opera House singing Capulet in Gounod's ROMEO ET JULIETTE. He performed numerous roles at that house over the next 12 months. Magini-Coletti left America in 1892 and proceeded to pursue a busy schedule of operatic performances in Italy and other European countries, venturing as far afield as Russia and becoming a frequent guest artist at both the Opéra de Monte-Carlo in Monaco and the Royal Opera, Covent Garden. In 1900, he rejoined the La Scala company, performing numerous roles there for three seasons. Most notably, he appeared in the premiere of Mascagni's LE MASCHERE in 1901. Also in 1901, he sang at La Scala in a memorial concert held to mark the recent death of Verdi, with Francesco Tamagno in a scene from LA FORZA DEL DESTINO. The following year, he participated in La Scala's first ever production of Weber's EURYANTHE. Magini-Colleti sang often under the baton of Arturo Toscanini, La Scala's principal conductor, during this period. Toscanini was an ardent advocate of Wagner's music and he conducted Magini-Coletti in performances of TRISTAN UND ISOLDE, DIE WALKURE and LOHENGRIN. These landmark Wagnerian productions often featured Magini-Coletti's La Scala colleague Giuseppe Borgatti - Italy's greatest heldentenor."
- Ned Ludd


V0821. CARLO ALBANI: IL TROVATORE – Deserto sulla terra. 10” GP V 64081, only form of issue, 22 Oct., 1907 – very brief catalogue life. M-A MB 20

V0822. CARLO ALBANI: IL TROVATORE – Deserto sulla terra. 10” white Vla 64081, only form of issue, 22 Oct., 1907 – very brief catalogue life. A to M-A, superb copy has one faintest rub, inaud & hardly worth mention. Choice late pressing. MB 20

V0823. CARLO ALBANI: BALLO – Di tu se fedele. 10” GP V 64082, only form of issue, 28 Oct., 1907 – even shorter catalogue life. A-, lovely copy has faintest rubs & one long, very light scr, positively inaud. MB 20

V0824. CARLO ALBANI: OTELLO – Ora e per sempre addio. 12” Special RCA shellac Test Pressing of C-4900-1 (issued briefly as V 74099), only form of issue, 28 Oct., 1907, this pressing with Victor ‘spiderweb’ verso – very brief catalogue life. M-A, gorgeous copy has wee pressing bump. MB 25

“Carlo Albani’s first Italian appearance was in 1905 at Teatro Della Pergola in Firenze in RIGOLETTO. Oscar Hammerstein engaged him for the season 1908-09 at the Manatthan Opera, where he made his debut in IL TROVATORE. During a resting period, thanks to his great success, Albani was contacted by the manager of San Carlo Opera Company who asked him to sing in some operas during the season at the Boston Opera. Albani accepted, but Hammerstein sued him and he was placed under arrest on stage during a performance. Because of these problems, Albani had to leave the States.”
- Ashot Arkelyan


V0825. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: SEMIRAMIDE - Bel raggio lusinghier, 2s. 12” Col. 72885-D, only form of issue, 1949. M-A MB 12

V0826. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: MACBETH – Una macchia è qui tuttora (Sleep walking scene) / DON CARLOS – O don fatale. 12” Col. 72884-D, only form of issue, 1949. M-A MB 12

“Nikolaidi was cast by Bruno Walter as Princess Eboli in Verdi's DON CARLOS with the Vienna State Opera on 16 December, 1936. She made her Town Hall debut recital in New York in January of 1949. The following morning, Jerome D. Bohm of the NEW YORK HERALD TRIBUNE wrote: ‘In 20 years of music reviewing and in twice that number spent in listening to most of the world's best singers, I have encountered no greater voice or vocalist’; the NEW YORK TIMES critic wrote of her ‘rare brilliance’.”
- Zillah Dorset Akron